Alongside the many fields of philosophical inquiry (language, ethics, science, the nature of
existence, history, etc.), art music could be considered the philosophy of sound. All music
creators are responding, often unconsciously, to questions that are philosophical in nature (What
are noise, sound, music?; What is the relationship between sound and time?; What are rhythm, beat,
duration?; What should our relationship be with sound—pure joy, social code, moral prescription,
mystical contemplation, mood, accompaniment for dance? etc.). In this context, art music can be
characterized as the result of critical reflection whose aim is to express these questions
consciously, and answer them according to a given approach.

For me, musical composition represents a place of conciliation between human beings and matter.
Once each one’s space has been well defined, sound emerges as a physically quantifiable mechanical
vibration, and everything else as arbitrary and contingent. These contingencies—which lead the
composer to arbitrary choices of content and form—are a function of the physiognomy (nature) and
conditioning (culture) of hearing, as well as the psychology of the subject and the desires that
stem from it (interpretation, expression, remuneration, seduction, etc.). The finality of art music
is symbolic: the work is performed as a poetic representation.